Like many other British bands of the '90s, Supergrass' musical roots lie in the infectiously catchy punk-pop of the Buzzcocks and the Jam, as well as the post-punk pop of Madness and the traditional Brit-pop of the Kinks and Small Faces. Perhaps because of its age -- two of the trio were still in their teens when they recorded their debut single -- the band also brings in elements of decidedly unhip groups like Elton John, as well as classic rockers like David Bowie, the Beatles, and the Rolling Stones. With an exuberant, youthful enthusiasm, Supergrass tied all of their influences together in new surprising ways, where a Buzzcocks riff could slam into three-part harmonies out of "Crocodile Rock," or have a galloping music hall rhythm stutter like the best moments of the Who.

Consisting of guitarist/vocalist Gaz Coombes, bassist Mickey Quinn, and drummer Danny Goffey, Supergrass released their first single, the semiautobiographical "Caught by the Fuzz," in the summer of 1994 on the indie label Backbeat; Parlophone signed the band and reissued the single in the fall of the year. "Caught by the Fuzz" generated a significant amount of buzz, including praise from Blur and Elastica. "Mansize Rooster," the group's second single, was released in the spring of 1995; it made it into the pop charts, as did "Lenny," which was released right before their debut album, I Should Coco.

Released in May 1995, I Should Coco received glowing reviews in the U.K. press and debuted in the Top Ten. The band's popularity continued to grow, leading to the number two double A-sided single, Alright/Time. Staying in the Top Three for nearly a month, the single pushed the album to number one. I Should Coco was released in the U.S. three months later and a buzz began to build there as "Caught by the Fuzz" began receiving MTV and radio play. The acclaimed In It for the Money followed in 1997, and in 1999 the band issued its self-titled third LP, which received a belated American release the following spring. The similar critical favorite Life on Other Planets followed in 2002, and Road to Rouen arrived three years later. 2008 sees the release of Diamond Hoo Ha.

You would never have expected Supergrass to grow like they have. Compared to, say, fellow Oxford boys Radiohead, whose 'The Bends' was released the same year as Supergrass' debut 'I Should Coco', pop-punk scraps like 'Caught By The Fuzz' seemed doomed to flare up and then fizzle out. Yet, 13 years on, they're flourishing. 2005's 'Road To Rouen' - a bleak, bare record - found new depth, but at a cost. With band relations under strain, a further blow came when bassist Mick Quinn broke his back sleepwalking out a window. Was it the end of a longer-than-expected run? Was it hell. Instead, Danny Goffey and Gaz Coombes banged on some silver jumpsuits, renamed themselves the Diamond Hoo Ha Men and rediscovered mischief under the freedom of a silly pseudonym. Playing Michael Jackson covers and some distinctly un-bleak new tracks in the small, sweaty venues they first cut their teeth in certainly helped.

Rejoined by Mick, the single of almost the same name opens their sixth album with a fat riff as Gaz channels some sort of hoodoo playboy travelling salesman, stuffing ladies in his suitcase and crowinf "When the sun goes down... I just can't resist/BITE ME!" If the boys are bringing back the fun, on tracks like '345' it's clear what new producer Nick Launay has brought; a big, muscular sound similar to a late-era White Stripes while the heavy glam of 'Bad Blood' even recalls the more playful moments of QOTSA. The sweet 'Ghost Of A Friend', meanwhile, proves that they're still the summer-radio-hit band to beat. Overall, it's a brash, shiny, confident record, carering along on a second wind, or as one jaunty number puts it' "the return of inspiration". The 'Grass have bounced back and it's definitely worth making a hoo ha over.

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Supergrass, Diamond Hoo Ha: Recorded in Berlin's legendary Hansa studios over a 3 week period with producer Nick Launay (Arcade Fire, Nick Cave, Yeah Yeah Yeahs) Diamond Hoo Ha captures the energy and enthusiasm of a band firing on all cylinders, none more evident than on opening track Diamond Hoo Ha Man (released as a limited edition 7 inch in January and achieving single of the week status in NME and The Fly). A notable departure from 2005's more pastoral and reflective (yet still critically acclaimed) Road To Rouen, Diamond Hoo Ha features a handful of rocking tracks debuted last summer when Supergrass were hand-picked as main support for the Arctic Monkeys at their Old Trafford shows. Tracks such as Rough Knuckles and future singles Bad Blood and Rebel In You are welcome additions to the band's already impressive cannon of classic songs like Caught By the Fuzz, Richard III, Moving and Pumping On Your Stereo. 13 years into their career and with 5 albums and a Best Of already under their belts, Gaz, Danny, Mick and Rob are sounding fresher than ever. $14.00

Supergrass, Road To Rouen: The brand new sounds of Supergrass's fifth record might frighten the timid, unadventurous types who think Supergrass should still be doing buzzsaw pop, ten years after they (re)invented the form with I Should Coco. With their new album they have made a record that is utterly, intriguingly, brilliantly different. Road To Rouen is about a journey; going places, moving on and growing up. ''We've had some trying times over the last couple of years'', reflects Gaz hesitantly, ''And it changes the way you do things. It changed the way I wrote songs.'' A decade on, Road to Rouen signals the beginning of a new chapter for Supergrass. Ghosts of the past have been exorcised and (sort of) laid to rest: Supergrass are ready to face their future. Road to Rouen demonstrates an amazing development in their sound, firmly shaking off the old frivolous and cheeky image. The album is packed with ideas and there are surprises at every turn. In a very good way, it's all over the place. A zither, a ukulele, Led Zep-style psychedelic-folk, brass, strings, the model of drum machine used by Sly And The Family Stone - all these are on Road To Rouen. $17.00

Supergrass, Supergrass Is 10 (Best Of 94-04): One of the most charming British bands of the last decade, Supergrass managed to fit in everywhere but not be part of any scene. Supergrass Is 10 - The Best of 94-04 reminds us just how many catchy hits they had fromtheir breakthrough BritPop anthem 'Alright' to new single 'Kiss of Life'. In no particular order, the 21 songs here (including two new ones and anold B-side) cover catchy pop ('Alright', 'Grace', 'Sun Hits the Sky'), slick retro-rock ('Pumping on Your Stereo', 'Seen the Light', 'Going Out'), spikey punk-rock ('Caught by the Fuzz', 'Richard III', 'Lenny') and gentle acoustic numbers (Moving, Late in the Day). $18.00

Supergrass, Life On Other Planets: Fourth album by the Oxford-formed indie act who shot to fame in the UK in 1995 with their no.2 single, 'Alright'. Life On Other Planets was produced by Tony Hoffer who has worked with Air and Beck, and was recorded in Sussex and Wales. It includes the singles, 'Grace' and 'Never Done Nothing Like That Before'. US version has enhanced videos for Seen The Light and Grace. $15.00

Supergrass, I Should Coco: Tearing by at a breakneck speed, I Should Coco is a spectacularly eclectic debut by Supergrass, a trio barely out of their teens. Sure, the unbridled energy of the album illustrates that the band is young, yet what really illustrates how young the bandmembers are is how they borrow from their predecessors. Supergrass treat the Buzzcocks, the Beatles, Elton John, David Bowie, Blur, and Madness as if they were all the same thing, they don't make any distinction between what is cool and what isn't, they just throw everything together. Consequently, the jittery Caught by the Fuzz slams next to the music hall rave-up Mansize Rooster and the trippy psychedelia of Sofa of My Lethargy, or the heavy stomp of Lenny or the bona fide teen anthem Alright. I Should Coco is the sound of adolescence, but performed with a surprising musical versatility that makes the record's exuberant energy all the more infectious. $12.00

Supergrass, Life On Other Planets: On its second album, the cleverly titled In It for the Money, Supergrass brought the songs to the forefront, slowing the tempos considerably and constructing a varied, textured album that makes the band's ambition and skill abundantly clear. From the droning mantra of the opening title track, it's clear that the band has delved deeply into psychedelia, and hints of Magical Mystery Tour are evident throughout the album, from swirling organs and gurgling wah-wahs to punchy horn charts and human beatboxes. In fact, Supergrass has substituted the punky rush of I Should Coco for such sonic details, and while that means the band only occasionally touches upon the breakneck pace of its debut (the hard-driving Richard III), it also deepens its joyful exuberance with subtle songs and remarkably accomplished musicianship. There might not be a Caught by the Fuzz or Alright on In It for the Money, but that's not a problem, since the bright explosion of Sun Hits the Sky and the nervy Tonight are just as energetic, and the album features introspective numbers like the gorgeous Late in the Day and It's Not Me that give it substantial weight. And even with all this musical maturity, Supergrass hasn't sacrificed its good-natured humor, as the detailed production and the bizarre closer, Sometimes I Make You Sad, make abundantly clear. Sometimes, maturity turns out to be everything it's supposed to be. $12.00